Born Jerry Reed Hubbard on March 20, 1937, in Atlanta, Georgia, Reed first learned to play the guitar on a used model his mother purchased for him when he was still a young child. He developed his proclivity for funk-infused picking early, following his intuition instead of established musical techniques. Reed performed in roadhouses as a teenager and at 16, he began working with Atlanta publisher and radio host Bill Lowery. Lowery introduced Reed to Capitol Records, who signed the promising young musician to his first deal when he was only 17 years-old.

Chart domination temporarily evaded Reed, and after leaving Capitol and a stint in the U.S. Army, he moved to Nashville to establish himself as a songwriter and session player. Substantial successes soon followed: Elvis Presley’s “Guitar Man” and “U.S. Male,” both written by Reed, also feature his signature “claw”-style guitar playing. Legends and luminaries including Brenda Lee, Nat King Cole, Dean Martin, Porter Waggoner, Gene Vincent and Tom Jones would also go on to record hits penned by Reed, while his guitar licks also colored recordings by Waylon Jennings, Bobby Bare, and many more.

Guitar king and RCA chief Chet Atkins had also sensed Reed’s immense potential, signing him to the label with a determination to embrace and encourage Reed’s uniqueness. The hits that followed made Reed a star: “Alabama Wild Man,” “Amos Moses,” “When You’re Hot, You’re Hot” and “Good Lord, Mr. Ford” ruled country charts and crossed into the pop mainstream. “Amos Moses” generated a 1971 Grammy nomination for best male country performance, while Reed and Atkins’ instrumental collaboration earned the Grammy for best country instrumental performance the same year. “When You’re Hot, You’re Hot” underscored Reed’s streak, earning the Grammy for best male country performance the following year.

Reed’s unyielding sense of humor and disarming country charm attracted Hollywood, who tapped him most notably to star in the Smokey and the Bandit trilogy as Burt Reynolds’ sidekick, “The Snowman.” He also contributed heavily to the films’ soundtracks, co-penning the theme “East Bound and Down.”

A multiple BMI Country, Pop and Million-Air Award winner, Mr. Reed’s most enduring legacy is undoubtedly his musical prowess. His guitar-picking innovation, innate humor, inimitable vocals and wry songwriting forged multiple inroads for future entertainers. He will be greatly missed.

Click here to read music journalist Peter Cooper’s comprehensive look at the life of Jerry Reed.

Pictured at BMI in Nashville for Jerry Reed’s 2005 album release party are (l-r): Buzz Cason, Bobby Bare, former BMI Assistant Vice President, Writer/Publisher Relations Harry Warner, Chip Young, Bob Beckham, Jerry Reed and Jerry Kennedy. (Photo by Alan Mayor)

Signed by BMI singer/songwriter Toby Keith to his Show Dog Nashville label, their self-titled album was released digitally the week of July 7, debuting at #7 on the country iTunes chart, garnering the iTunes Discovery Download of the week, and featured on iTunes home page. CMT viewers voted their new single and video “Different Breed” into the #3 spot on CMT Pure.

Carter’s Chord are true daughters of the Outlaw country movement whose parents Barny & Carter Robertson toured and recorded with Waylon Jennings at the height of his Outlaw fame and raised the sisters on music. Their debut album, produced by Keith and father Robertson, features five songs written by the sisters with their distinctive sibling harmonies creating a sound that melds their deep country roots with utterly contemporary appeal. The girls are currently opening for Keith on his summer-long “Biggest & Baddest” tour and their album’s physical release is scheduled to drop in the fall.

He wrote his first hit song 50 years ago. It was a Ray Price hit called “City Lights,” and he wrote it when he was a disc jockey at a Georgia radio station. He had his first Top 10 record as a solo artist 47 years ago and he joined the Grand Ole Opry 46 years ago.

And he had his last big cut . . . well, what time is it? Anderson continues to be an in-demand songwriter, writing for Kenny Chesney, Brad Paisley and a slew of other new millennium favorites. His co-written “Give It Away” was a rarity: a No. 1 hit that was co-written by a Country Music Hall of Famer (Anderson) and sung by another Hall of Famer (George Strait). And in 2005, his “Whiskey Lullaby” (written with Jon Randall and sung by Paisley and Alison Krauss) won the Country Music Association’s song of the year prize. BMI’s first country Icon is, as retired former Sony/ATV President Donna Hilley once noted, both an elder statesman and a contemporary talent.

“He’s young for his age,” Randall said. “I think he can go on indefinitely. I want to be Bill Anderson when I grow up.”

For the record, Anderson was born on Nov. 1, 1937. Writing top hits at his age is like Sandy Koufax pitching a no-hitter against a modern-day New York Yankees team. Anderson never figured it would work out this way, exactly, though he also never planned on retiring and fading away.

“I just knew that this is what I wanted to do for my life’s work,” he said. “But I do remember telling people I’d stop if it wasn’t working out.”

It worked out, in spades. He wrote “City Lights” when he was 19, entering the hit parade and launching a remarkable career in music. The songwriting success preceded his triumphs as an idiosyncratic solo artist: Though he didn’t have a classically superior voice, Anderson developed a signature vocal style that led folks to call him “Whispering Bill Anderson.” His breathy, intimate singing helped him to score smashes including “Mama Sang A Song,” “Still,” “I Get The Fever” and “Wild Week-End.”

“In the days when I came along, the style was the thing,” he said. “If you weren’t different, you didn’t stand much of a chance.”

Anderson’s career as a top-draw solo artist cooled in the late 1970s, though he remained a popular fixture on the Opry. He quit writing songs in the 1980s, figuring that his writing well was dry and that it was better to concentrate on other things (such as hosting game shows on ABC and The Nashville Network). But Steve Wariner’s version of Anderson’s “The Tips of My Fingers” became a radio hit in 1992, proving that a classic country song could resonate through the decades, and Wariner and Vince Gill kept pushing him to co-write.

“That’s when the writing thing started to bubble again, and that’s when I got happier than I ever had been in my life,” Anderson said.

And so Bill Anderson’s career entered unprecedented territory. Never before had someone been to the top of an industry as a songwriter in one decade, as a performer in another and then re-emerged as a top songwriter again decades later. His works have been sung at the Opry, at county fairs and at Carnegie Hall. And his longevity and versatility helped Anderson become a common denominator in the careers of a seemingly disparate group of artists: Ernest Tubb, James Brown, Loretta Lynn, Trini Lopez, Aretha Franklin, The Louvin Brothers, Elvis Costello, Merle Haggard, Dean Martin and Waylon Jennings have all recorded his songs.

A friend recently sent Anderson a 50th birthday card, which surprised him since he has long passed 50 and it wasn’t his birthday. But the date was August 27, 2007, and it was the 50th anniversary of the day he wrote “City Lights.” Ray Price recorded it the next year, and a small town disc jockey became a professional songwriter. The day Price recorded “City Lights,” Anderson received a congratulatory call from Roger Miller and then another congratulatory call from a publisher. Later that afternoon, he got a call from a second publisher who said, “If you’ll sign with us, I think I can talk Ray Price into cutting ‘City Lights’.”

“In four hours, I got a good lesson into the realities of the music business,” Anderson said.

In those days, Bill Anderson was still learning lessons. These days, he could teach them.

The new artist categories were reserved for BMI singer/songwriters as well, albeit the respected winners are far from "new" to most listeners. Critic and fan favorite Miranda Lambert earned a Top New Female Vocalist win, while hard-working Rodney Atkins claimed the Top New Male Vocalist crown-10 years after signing his first record deal. Harmony-drenched quartet Little Big Town secured Top New Duo or Vocal Group honors as well.

Perennial favorites Brooks & Dunn won four awards including Top Vocal Duo and Vocal Event of the Year for "Building Bridges." The song featured fellow BMI members Sheryl Crow and Vince Gill, and both Ronnie Dunn and Kix Brooks also received nods for their work as producers. Brooks & Dunn now hold the record for most Top Vocal Duo wins with 14. In recognition of their numerous charitable endeavors, the duo was also presented with the Home Depot Humanitarian of the Year honor.

Both Song and Single Record of the Year went to "Give It Away," produced by BMI affiliate Tony Brown and co-written by BMI songwriters Whisperin' Bill Anderson and Jamey Johnson. The staunchly honky tonk tune was a No. 1 hit for recent Country Music Hall of Fame inductee George Strait, and it earned the first ACM award for Country Music Hall of Fame and Grand Ole Opry member Bill Anderson.

Megastars Rascal Flatts took home Top Vocal Group honors. The group recently saw their single "Stand" hit No. 1 and were also named Billboard's top-selling act for 2006. Their fifth ACM Top Vocal Group win ties them with Country Music Hall of Famers Alabama for the most consecutive wins in this category.

BMI legends swept the prestigious Pioneer and International Award categories. Peerless songwriter Harlan Howard, American treasure Dolly Parton and rebel icon Waylon Jennings were each honored with Pioneer Awards, while the academy bestowed the International Award on Bakersfield sound architect Buck Owens.

The Academy of Country Music, an artist and industry-driven organization, exists to produce a world-class network television awards show, and its associated events, to provide the financial resources to ensure the on-going philanthropic work of its Charitable Fund. Academy of Country Music Charitable Fund promotes and supports music education and humanitarian programs that transform the human spirit. Through its charitable donations, the ACMCF works towards two main goals: encouraging Learning Through Music and Healing Through Music. The Academy, which is comprised of more than 4,500 professional members and more than 48,000 associate members, was established in 1964 and is headquartered in Encino, Calif.

For more information on the Academy of Country Music Awards and the Academy of Country Music, please visit www.acmcountry.com.

BMI 2007 ACM Winners

Top Female Vocalist
Carrie Underwood

Top Vocal Group
Rascal Flatts

Top Vocal Duo
Brooks & Dunn

Top New Male Vocalist
Rodney Atkins

Top New Female Vocalist
Miranda Lambert

Top New Duo or Vocal Group
Little Big Town

Album of the Year [Award to Producer(s)/ Artist(s)/ Record Company]
Some Hearts
Carrie Underwood
19 Recordings Limited/Arista Records

Single Record of the Year [Award to Artist(s)/ Producer(s)/ Record
Company]
"Give It Away"
Producer: Tony Brown
MCA Nashville

Song of the Year [Award to Composer(s)/ Publisher(s)/ Artist(s)]
"Give It Away"
Writers: Bill Anderson and Jamey Johnson
Publishers: Sony/ATV Tree Publishing/Mr. Bubba Music, Inc., Admin. By
Sony/ATV Music Publishing and EMI Blackwood Music, Inc.

Video of the Year [Award to Producer(s)/Director(s)/Artist(s)]
"Before He Cheats"
Carrie Underwood

Vocal Event of the Year [Award to Artist(s)/Producer(s)/Record Company]
"Building Bridges"
Brooks & Dunn with Vince Gill & Sheryl Crow
Producers: Tony Brown, Ronnie Dunn & Kix Brooks
Arista Nashville

Pioneer Award
Harlan Howard
Dolly Parton
Waylon Jennings

International Award
Buck Owens

Musicians

Aubrey Haynie
Fiddle

Brent Mason
Guitar

John Hobbs
Piano/Keyboards

Stuart Duncan
Specialty Instrument

Michael Johnson
Steel Guitar

Frances W. Preston has come a long way since her position as receptionist at WSM radio station, which she left in 1958 to open a southern regional office of Broadcast Music, Inc. (BMI) in Nashville. There Preston issued performing rights licenses for songwriters and music publishers, and she quickly led BMI to a position of preeminence in the south. In 1964, the year the BMI building opened on Music Row, Preston became a Vice President. Quickly moving up the ranks, she served as President and CEO of BMI from 1986 to 2004, during which time the company’s revenue more than tripled to over $673 million. Under her leadership, BMI enjoyed a consistent record of increasing revenues and royalty distributions to its more than 300,000 songwriters, composers and music publishers. She has been inducted into the Country Music Hall of Fame and the Gospel Music Hall of Fame and a Trustees Award for Lifetime Achievement by the Recording Academy, the President’s Award from the Nashville Songwriters Association International, the President's Award from the National Music Publishers' Association, and the City of Hope "Spirit of Life" Award. She has twice received a Humanitarian Award from the International Achievement in Arts Awards in New York. Photos highlighting Frances Preston’s prolific career can be enjoyed above.

In a career that has spanned nearly five decades, and with millions of records sold, The Crickets are unquestionably "The American Rock and Roll Band." The group was formed in 1957 in Lubbock, Texas by Buddy Holly, J. I. Allison, Niki Sullivan and Joe B. Mauldin. After Sullivan and Holly left the group, Sonny Curtis joined to form the ever-popular trio. Their hits "That’ll Be the Day," "Peggy Sue," "Maybe Baby" and "I Fought the Law" are rock classics considered by many to be primary lessons in how rock music should be written and played. In the mid '70s, the three moved to Tennessee where they continued their long association with Waylon Jennings and began touring and recording with him. Their latest release, The Crickets and Their Buddies, was partly recorded in Nashville and features Eric Clapton, Rodney Crowell, Nanci Griffith, Waylon Jennings and John Prine, to name a few. This induction is a fitting tribute to a band who literally defined rock and roll music, and who today, after 50 years, continues to set the standard of excellence by which it should be judged.

John Hiatt wrote his first top-40 hit, "Sure as I'm Sitting Here," while working as a songwriter for Tree Music Publishing in Nashville. The song was covered by Three Dog Night, and in 1974 the band took the song to No. 16 on the Billboard chart. Since then, Hiatt's songs have been recorded by a number of artists including Bob Dylan, Bonnie Raitt, Eric Clapton, B.B. King, Willie Nelson, Jimmy Buffet and Rosanne Cash, to name a few. Hiatt has released 18 studio albums and two live albums, and he has been nominated for 11 Grammy Awards. His 1987 hit "Have a Little Faith in Me" brought him national attention and was covered by several artists, with the most notable versions being recorded by Jewel, Mandy Moore and Joe Cocker. Hiatt has written and recorded duets with respected vocalists like Bonnie Raitt ("Thing Called Love"), Emmylou Harris ("Icy Blue Heart"), Rosanne Cash ("The Way We Make a Broken Heart"), Suzy Boggus ("Drive South") and B.B. King & Eric Clapton ("Riding with the King"). A musician's musician, Hiatt has proven to everyone that he has what it takes to be an all-around great singer/songwriter.

Created in the fall of 2006, the Music City Walk of Fame on Nashville's Music Mile will be a landmark tribute to those from all genres of music who have made significant contributions to preserving the musical heritage of Nashville and have contributed to the world through song or other industry collaboration.

Permanent sidewalk medallions made of stainless steel and terrazzo, with each honoree's name displayed in a star-and-guitar design, will be installed in the sidewalk along the Music Mile, the roughly one-mile stretch of Demonbreun Street from 4th Avenue South to the Music Row Roundabout at 16th Avenue South. The plaques for this class of inductees will be inlaid in Hall of Fame Park on Demonbreun, between 4th and 5th Avenues South.

About the Music City Walk of Fame The Music City Walk of Fame is an official project of Music City, Inc., the Nashville Convention & Visitors Bureau's 501(c)(3) foundation; Sandra Fulton, chair. The Music City Walk of Fame is produced with the support of Gibson Guitar, Great American Country, the City of Nashville and Metro Parks.

Brooks & Dunn	Carrie Underwood	Keith Urban

Longtime BMI affiliates and hosts of the event Brooks & Dunn made believers out of the CMA this year by claiming three awards, the most of any nominee. The duo's hit "Believe," co-written by Ronnie Dunn, snagged Single and Song of the Year titles, while their fourteenth Duo of the Year trophy raised their career total to nineteen, officially making Brooks & Dunn the record-holders for the most wins of any artist in CMA history.

Rascal Flatts	Randy Scruggs	Dolly Parton

Carrie Underwood has officially arrived. The 2005 American Idol winner took home both the CMA Horizon Award, given to the year's most promising new artist, and the Female Vocalist of the Year title. Underwood became the first to claim both the Horizon and Female Vocalist wins since Alison Krauss in 1995.

Keith Urban picked up his third consecutive Male Vocalist of the Year trophy. Though unable to attend the ceremony, Urban relayed a heartfelt acceptance speech through good friend Ronnie Dunn, who read a letter from the winner aloud to a cheering audience.

Super group Rascal Flatts secured a fourth consecutive Vocal Group of the Year win, capping off a year packed with record-setting concert attendance and album sales. The trio performed their single "My Wish," which is currently climbing the charts.

Guitarist Randy Scruggs garnered his third CMA Musician of the Year win. The son of bluegrass legend Earl Scruggs, Randy's musical prowess has enhanced projects over the years by a range of figures, from Waylon Jennings and Emmy Lou Harris to George Strait. BMI Icon Dolly Parton also earned recognition in the Musical Event of the Year category for her contribution to the poignant hit "When I Get Where I'm Going."

Iconic songwriter Kris Kristofferson presided over Country Music Hall of Fame inductions of Harold Bradley and Sonny James. Bradley, a member of the legendary Nashville A-Team, and James, an esteemed country vocalist and host of the inaugural CMA Awards Banquet and Show in 1967, were both on hand and greeted with standing ovations.

2006 BMI CMA Award Winners

MALE VOCALIST OF THE YEAR
Keith Urban

FEMALE VOCALIST OF THE YEAR
Carrie Underwood

VOCAL GROUP OF THE YEAR
Rascal Flatts

VOCAL DUO OF THE YEAR
Brooks & Dunn

HORIZON AWARD
Carrie Underwood

SINGLE OF THE YEAR
"Believe"
Brooks & Dunn
Produced by Tony Brown/Kix Brooks/Ronnie Dunn

SONG OF THE YEAR
"Believe"
Co-written by Ronnie Dunn
Sony/ATV Tree/Showbilly Music

MUSICAL EVENT OF THE YEAR
"When I Get Where I'm Going" featuring Dolly Parton

MUSIC VIDEO OF THE YEAR
"Believe"
Brooks & Dunn

MUSICIAN OF THE YEAR
Randy Scruggs - Guitar
]]> 2006-11-07T03:00:00-05:00 http://www.bmi.com/news/entry/334889 Artists, Black Crowes, The, Burnett, T-Bone, Guy, Buddy, Hancock, Herbie, Hayes, Isaac, Holland-Dozier-Holland, Hooker, John Lee, Jennings, Waylon, Kristofferson, Kris, Musical Styles, Country Kris Kristofferson and the late Waylon Jennings into the Hollywood RockWalk in Los Angeles. BMI country singer/songwriter Jessi Colter, Jennings' wife, accepted the posthumous induction in his honor.

Shown at the induction ceremony are Waylon Jennings' wife Jessi Colter, BMI's Barbara Cane, RockWalk inductee Kris Kristofferson, BMI's Tracie Verlinde, BMI songwriter/producer T-Bone Burnett and BMI's Joe Maggini.

The ceremony included an endearing speech by celebrated BMI singer/songwriter T-Bone Burnett about his long-time friends and colleagues, Kristofferson and Jennings. Kristofferson, one of country music's most influential songwriters, is best known for hits like "Me and Bobby McGee" and "Sunday Mornin' Comin' Down." Jennings' musical legacy is a staple in American country music, with credits that include the hit "Mamas Don't Let Your Babies Grow Up To Be Cowboys." Jennings died in 2002 in his home in Chandler, Ariz.

Founded in 1985, Hollywood's RockWalk is a sidewalk gallery on Sunset Boulevard that pays homage to those musicians and innovators who have made a significant and lasting impact on rock 'n roll, including such creatively diverse individuals and groups as Isaac Hayes, Holland-Dozier-Holland, Aerosmith, Herbie Hancock, Queen, The Black Crowes, Dick Clark, Willie Dixon, Buddy Guy, Jimi Hendrix, KISS, Les Paul, John Lee Hooker and Smokey Robinson.]]> 2006-07-09T18:00:00-05:00 http://www.bmi.com/musicworld/entry/334875 Artists, Alabama, Jennings, Waylon, Murrah Music, Stegall, Keith, Tillis, Mel, White, Phillip, Musical Styles, Country, Gospel, Pop, Rock, Musicworld, Feature Indie Publisher Spotlight:
Mentoring Role Helps Murrah Music Thrive

In the highly competitive world of music publishing, it can sometimes be difficult to find accord on even the most minor question.

Not so when the subject is Roger Murrah. In addition to a songwriting career filled with hits for such luminaries as Waylon Jennings, Alan Jackson and Alabama, Murrah’s Nashville-based indie publisher Murrah Music has become one of the country scene’s most important publishers — what Glenn Middleworth, Vice President of Creative for Famous Music-Nashville, calls “perhaps the best independent publishing house in town.”

Adds Karen Conrad, longtime Nashville publisher and consultant to BMG Songs Nashville: “Roger is one of those rare people who has great musical talent and business organizational skills. His contribution to the Nashville music industry as a songwriter and a mentor to other writers has been tremendous.”

“Roger has been a mentor and friend and taught me the difference between a good song and a great song,” says writer/producer Keith Stegall, now the Chief Creative Officer at Broken Bow Records. “Lyrically speaking, he taught me that less is always more.”

Murrah’s own modest demeanor belies his considerable achievements, which includes two consecutive terms as president of the Nashville Songwriters Association International (NSAI), a term as chairman of the Nashville Songwriters Foundation (NSF, where he currently serves as chairman), a BMI Songwriter of the Year citation, and, for Al Jarreau’s “We’re in This Love Together,” a BMI Million-Air Award recognizing the hit’s one million-plus radio performances.

Not bad for someone who just wanted to be a singer.

Born in Athens, Ala., Murrah taught himself how to play music on a piano his father had traded a pick-up truck for. “I think he felt it was good to have around us — he traded trucks, cattle, everything, but that was definitely his most unusual trade,” he recalls with a laugh. “I learned just enough to write, and since I’d learned by ear I always kept it simple, didn’t ever really get too complicated.”

While serving in the Army in 1968, Murrah signed on as a staff writer with Muscle Shoals music publisher/producer Rick Hall. Following his military service, he and some partners opened a recording studio in Huntsville, Ala., ultimately forming a relationship with industry vet Bobby Bare; by 1972 Murrah had relocated to Nashville to sign with Bare’s Return Music, and a year later had married the former Kitty Goodman and notched his first nationally charted song, “It’s Raining In Seattle,” recorded by Wynn Stewart.

“I actually got into the business to be a singer,” Murrah notes. “I kind of backed into songwriting, but that took off once I was in Nashville. I was successful enough with it to not have to worry about my singing career. In the end it worked out for the best, because I wasn’t really cut out to be on the road all the time.”

Murrah’s ascent as a songwriter started gradually, but quickly picked up speed. “At that stage in your career the least things can be very exciting to you, giving you hope to tide you over for a couple of years,” he says. “It was a long and drawn out process, but it was all necessary to learn how to write. I was also pitching a lot of songs, which I enjoyed.”

So much so, in fact, that by 1987 he was co-publishing his own material with Tom Collins Music. “One day I stood on Tom’s front porch and, both figuratively and literally, looked up and down Music Row and nothing appealed to me that would work. So I decided to step out on a limb and try it myself. It was,” he says, “the best move I ever made in my career.”

Within two years of its 1990 inception, Murrah Music was named Billboard’s Independent Publisher of the Year, due in no small part to Murrah’s own songwriting for such acts as Mel Tillis, Conway Twitty and the Oak Ridge Boys, as well as by such developing writers as Rachel Thibodeau, Mike Mobley, Neal Coty and Jon Henderson.

Murrah’s interest in working with new talent — more than a few Nashville figures describe him as a “mentor” — is something that comes naturally. “I love helping to train new writers and help them come along. Sharing their first success gives me an opportunity to go through that again.”

Such an approach is what separates the independents from the majors, he says. “Big corporations are not so interested in training writers; they want and to some degree need to hit the ground earning. As a result, it’s difficult to impossible for large corporations to maintain a close personal relationship with writers, especially young writers. It’s more about the bottom line and the money. They become bankers, bankrolling writers.

“But a writer needs to feel there’s a contact there, there’s warm bodies. Being a writer myself, I can help them grow quicker, by working closely and helping to nurture them.”

Currently, Murrah Music represents 10 writers besides Murrah himself, and administers about 10,000 copyrights. The company is always on the lookout for catalog acquisitions, and represents songs by Mark Alan Springer, Phillip White, Jimmy Melton and Pat Terry.

And as he continues to work tirelessly with the NSF, whose goal is to build a Nashville Songwriters’ Hall of Fame (he hopes to make a “major announcement” later this year), Murrah’s personality and reputation continue to impress others in the community.

“Roger has always been one of my favorite writers and has written some of my all-time favorite songs,” says Renee Bell, Senior VP, A&R, RCA Label Group, who estimates she’s known Murrah for nearly two decades. “He is an incredible mentor for writers, and this is why he has had one of the most successful independent publishing companies in town over the past 16 years.”

“I used to pop over to Tom Collins Music, which was right across the street from where I worked in the mailroom at RCA Records, back in the early ’80s,” says Famous’ Middleworth. “I loved to hang out and listen to Roger's new songs and Tom's stories and perspective about the publishing biz. I think that's when I decided I wanted to get into publishing.”

“When a songwriter becomes a publisher, very often he doesn’t stick with it and he goes back to being a songwriter,” Murrah reflects. “But I always enjoyed exercising both sides of my brain, as it were: When I’m working the business side I give the creative side a rest, and when I work the creative side I give the business side a rest.”

Discovered in her teens by her future first husband rockabilly guitarist Duane Eddy, Colter wrote and recorded a string of successful songs, including 1961's "Lonesome Road," which Eddy produced, "No Sign of the Living" for Dottie West, the Colter/Eddy duet single "Guitar on My Mind" and the 1975 hit "I'm Not Lisa."

BMI singer/songwriter Jessi Colter (center in hat) is welcomed by the BMI Media Relations team: Kay Clary (Nashville), Jerry Bailey (Nashville), Ellen Ratner (Los Angeles), Brian Tipton (Nashville), Robbin Ahrold (New York), Liane Mori (Los Angeles) and Hanna Pantle (Los Angeles).

After divorcing Eddy, Colter married country legend Waylon Jennings and eventually released the successful Wanted! The Outlaws, a collaboration with Jennings, Willie Nelson and Tompall Glaser and the first Nashville album to sell a million copies. Her best-known duets with Jennings are "Suspicious Minds" and her soothing composition "Storms Never Last."

In later years, she let her recording career slip, but remained part of Jennings' stage show. In the '90s, she began writing and performing children's music. She sang on Jennings' live album in 2000, two years before he died, and added a new version of "Storms Never Last" to a Jennings tribute album in 2003. That same year, Capitol Records released the retrospective The Very Best of Jessi Colter: An Outlaw...A Lady.]]> 2005-11-02T17:00:00-05:00